You can still flash multigrade.

Thanks sir ,it was so so usefull. Watching from Assam ,India

Sad to hear of his demise, but in truth his F-Stop technique is nothing new, he just changed the terms a bit. In the old days, proper print exposure, depth of focus, paper grades, split-toning, dodging and burning were all taught under the general heading of "making a proper print." This included being facile in both adjusting F-stops and determining proper times, as well as all the other darkroom techniques to make a good print. All old ground disclosed long ago by Fred Archer, Ansel Adams and Minor Young. One thing you have to be aware of, is there is a limit to timed exposures as you run into reciprocity failure, which can be accounted for, but far less precisely, and variable to grade and paper manufacturer.

Mr. Bruce Barnbaum, the second coming of Ansel Adam. If you can pick up his Art of Photography, do so. His book is the missing volume of Ansel Adam’s three volume set on composition to successfully execute the concept of pre-visualization in the modern digital era with the zone system.

2024 and still such a great video!!!

everyone is exposing for zone 3 and this guy wants to reinvent the wheel. give me a break

This makes complete sense. I have been struggling with this exact same problem for many of my BW negatives and I was just not able to understand whether my meter/metering was inaccurate, or my development was not enough or the way I was scanning my negatives was wrong. I am going to try placing the shadows on Zone IV and see if it works.

Well done sir. Very informative.

In 2024, I’m watching this great video. What a fantastic experience you had with your grandfather. The elder taking an interest in what the young can learn and experience in life. It is a good thing to see how other people live and survive, it is humbling and inspiring.

Where can i find such exposure unit

Well done! beautiful cinematography.

Giants

Very interesting

What's funny is national City took theirs down don't know why

Carl was my Uncle. Definitely miss him.

Dont know where you get your stories , The Anassies did not live in the canyons , those are. Cliffdwellers .

Great video mate. I loved it. Lots of information and some personal insights. Really well put together. Cheers from Australia.

Then white people came and fucked up everything

Da hat der gute Tim aber etwas verwechselt. Die uralte Regel lautet: Belichte auf die Schatten, entwickle auf die Lichter.

I used the Zone System for my B&W photography and was a lab tech at National Geographic where I did halftone and color separations, film testing and process control. It needs to be understood Zones are not densities on the negative they are relative tonal values in the original scene and on the print. Adams defined Zone 0 in the scene as a black void like a cave entrance which was to be recorded on the negative with no density just film base + fog and the minimum amount of exposure when making the prints to produce maximum black on the clear Zone 1 areas and the film borders. In the highlights on the print the Zone 10 specular reflections in the scene are reproduced with the paper base and the Zone 9 smooth white highlighted objects are rendered on the print as a light tone of gray. What Zone System practitioners like myself would do to show they were adhering to the gospel of St. Ansel was file the negative carriers larger so when the entire negative was printed without cropping it would have a maximum black Zone 0 border around it. If the negative had been developed correctly to fit the range of the #2 paper when a contact print proof of the negative was exposed to reproduce the film borders as black and any density of silver as shade of gray, if the development time of the negative was correct for the contrast of the scene lighting the Zone 9 smooth solid white scene values would be a very light shade of gray on the print with the paper base reproducing the specular highlights so there was the perceptual contrast between the solid white object and the and Zone 10 paper base specular highlights necessary to create the illusion of 3D on white objects in a 2D reproduction. A good example of this would be a photo of a white car. The brightest non-specular white reflectance off the body would be Zone 9 with the specular highlights on the white body of the car - reflection of the source, the sun - would be denoted as Zone 10. But when printed the only way to render the Zone 10 specular highlights was to render the Zone 9 white of the car as a light gray with the white base of the paper reproducing the specular reflections of the light source. The need to reproduce the brightest solid whites in the scene as a gray tone on the print confused many, especially in the early editions of Adams books. I learned the system from the 1968 printing and in it there were only Zone 0 to Zone 9 because Adams didn’t assign a Zone number 10 to the specular highlights of the scene or the paper base. As a result photographers would use paper base to render the solid whites resulting in overexposure and loss of the specular reflection clues to 3D shape on the the white objects, the same thing that happens when color transparency film or digital image is over exposed. With regard to reproduction one f/stop differences in scene reflectance into a perceptually linear series of steps on the print one needs to realize the zones values on the print have no direct relation to the range of f/stops in the scene and that the print paper also had a toe and shoulder on its DlogE graph. Per the Gospel of St. Ansel if you exposed for Zone 0 shadows being reproduced as film base + fog and developed the negative so a standard exposure of the #2 print reproduced the Zone 9 solid vs Zone 10 speculars you correctly recorded the scene accurately on the negative and baseline proof print. But that was only the score and the start of the creative process because performance on the final prints was the result of exposure manipulation on the print to change the recored negative values via dodging and burning. Adams made very detailed note of where he dodged and burned on the baseline print using tissue overlay. Technically determining negative development time based on scene range made making the full range baseline proof print a no-brainer and something which could be easily done hundreds of times to sell copies of the prints. The details overlay maps for dodging and burning made that repeatable and also something which could be done by assistants, freeing him to capture more images. The modern equivalent is shooting digital with studio lights using enough fill light to reveal detail in a black towel, and then overlapping the key light until a white towel appears white but specular reflections on it are preserved. The solid black will have an histogram value of 0, the specular highlights a value of 255 and the photo will be PERCEIVED as having the same detail and tonal relaitionships on the print as perceived by eye. Once the goal of accurately recording shadow and highlight detail is achieved the tonal relationships can be altered in Photoshop by moving the middle slider which does not change shadows or highlights, just the tone of the middle values. Alternately you could burn or dodge to make print zone values higher or lower selectively.

The art of sounding usefull. WHY declare as a given that zone 3 is (in other words:) 'to low' ? This is really all about non sens. (BUT looks sooo honest because of that shared admission of those to-be blacks fell on zone 1 or 2 when ..etc) Such a video must include the notion of the total range of zones in a given scene. Then we have to assume You allready know what each of your films is able to reproduce best at different developing methods (to encompass how many f-stops). And you decide if certain zones you want black anyway - or..etc. ..knowing that texture and rich nuances in the highlights are best reproducible when highest-but-not-in-the-shulder. This segment of teaching shows me definitally this here is mambo jambo. (Myself have only given hints to a teaching. It's not to be taken as such)

姑父呵呵呵呵好热好热好热得很好喝好玩的时候就

Bravo ..... Love to see the portrait ! ! ! ! ! ! ! Super

Thank you for sharing!!! That was awesome!!

So the age old rule, over expose by one stop and divide the development time by 1.4.

I assisted this man back in the late 80s. Learned a ton about the business and how to approach every photograph. I still use these lessons today and think of him off and on in my own photography. Glad to see you still creating Kazu! Working for you was one of my best gigs.

So if I understand this correctly, I have to compensate one stop for the shadows instead of two?

Where Is the rest of this great lecture?

wise words. thanks for sharing this.

Interesting video, I like it and I would like to give a try😁 My question is , do I need to be with the safe light during the redevelopment with the lith? Or no like the sepia toner? Thanks 😊

holy crow, this is amazing, thank you. that explanation of the 3 parts of the curve was very clear. much clearer than any of the more recent videos i've seen on using the tone curve in lightroom to manage contrast.

Chabelita Mournian!, part of my family!. Regards. Lorenzo Castañeda, La Paz, Mexico.

So is the idea to expose the negative as he suggests and then give the negative N-1 development?

I just made my first light prints and I am in love with the variables and beautiful. Contrast control has always been something I wanted to control more, this process is the way.

I just did a Google search for: "Palladioscope Lens" But, nothing came up. Am I spelling it wrong?

Someone needs to make azo paper again

Ok my friends

Great session. I am wondering if anyone has contact information for Tim? The one of his website seems to be dead. Thank you

Así debe de ser que desde niños le tengan amor a nuestro hermoso folclore felicidades a estos chiquitines

How is there not more about this man out there????

Great demo … and what rocks they have there!

Great video. I did this long ago in class but forgot & wanted to know how to remake it again. However, how do you clean the film after you take the picture

Hmmmm............I wonder how all those great photos were taken before the zone system. Maybe those old masters knew what they were doing.

I've been to many places in the west but never got into the ute tribal park never enough time to see it all. You made an excellent video somethin kids when I was young could never even dream of doing , wow 50 yrs how the world has changed since I was your age you are going to be fine. learning about the history of our country best thing you can do so glad you have interest . So keep up the good work congratulations I hope all your dreams come true , stay on the warriors path and you'll make it .

How about silvercloridebromide paper made by Fore?

And the best three types of photo papers were made by FORTE

👍🏼❤️❤️🥰😍

Can you imagine how many times the inventor failed before he finally got it right?? (Years ?)

Wonderful. Where in New Mexico did you record this?

Sounds like a really cool trip. Way more to it than just rocks and rattlesnakes huh